This pert little winter wren, for instance, darting in and out the fence, diving under the rubbish here and coming up yards away,--how does he manage with those little circular wings to compa.s.s degrees and zones, and arrive always in the nick of time? Last August I saw him in the remotest wilds of the Adirondacks, impatient and inquisitive as usual; a few weeks later, on the Potomac, I was greeted by the same hardy little busybody. Does he travel by easy stages from bush to bush and from wood to wood? or has that compact little body force and courage to brave the night and the upper air, and so achieve leagues at one pull?

And yonder bluebird, with the earth tinge on his breast and the sky tinge on his back,--did he come down out of heaven on that bright March morning when he told us so softly and plaintively that spring had come?

Indeed, there is nothing in the return of the birds more curious and suggestive than in the first appearance, or rumors of the appearance, of this little bluecoat.

The bird at first seems a mere wandering voice in the air; one hears its call or carol on some bright March morning, but is uncertain of its source or direction; it falls like a drop of rain when no cloud is visible; one looks and listens, but to no purpose. The weather changes, perhaps a cold snap with snow comes on, and it may be a week before I hear the note again, and this time or the next perchance see the bird sitting on a stake in the fence, lifting his wing as he calls cheerily to his mate. Its notes now become daily more frequent; the birds multiply, and, flitting from point to point, call and warble more confidently and gleefully.

Not long after the bluebird comes the robin, sometimes in March, but in most of the Northern states April is the month of the robin. In large numbers they scour the field and groves. You hear their piping in the meadow, in the pasture, on the hillside. Walk in the woods, and the dry leaves rustle with the whir of their wings, the air is vocal with their cheery call. In excess of joy and vivacity, they run, leap, scream, chase each other through the air, diving and sweeping among the trees with perilous rapidity.

In that free, fascinating, half work and half play pursuit,--sugar making,--a pursuit which still lingers in many parts of New York, as in New England, the robin is one's constant companion. When the day is sunny and the ground bare, you meet him at all points and hear him at all hours. At sunset, on the tops of the tall maples, with look heavenward, and in a spirit of utter abandonment, he carols his simple strain. And sitting thus amid the stark, silent trees, above the wet, cold earth, with the chill of winter in the air, there is no fitter or sweeter songster in the whole round year. It is in keeping with the scene and the occasion. How round and genuine the notes are, and how eagerly our ears drink them in! The first utterance, and the spell of winter is thoroughly broken, and the remembrance of it afar off.

Another April bird, which makes her appearance sometimes earlier and sometimes later than Robin, and whose memory I fondly cherish, is the Phoebe bird, the pioneer of the fly catchers. In the inland fanning districts, I used to notice her, on some bright morning about Easter Day, proclaiming her arrival with much variety of motion and att.i.tude, from the peak of the barn or hay shed. As yet, you may have heard only the plaintive, homesick note of the bluebird, or the faint trill of the song sparrow; and Phoebe's clear, vivacious a.s.surance of her veritable bodily presence among us again is welcomed by all ears. At agreeable intervals in her lay she describes a circle, or an ellipse in the air, ostensibly prospecting for insects, but really, I suspect, as an artistic flourish, thrown in to make up in some way for the deficiency of her musical performance.

Another April comer, who arrives shortly after robin redbreast, with whom he a.s.sociates both at this season and in the autumn, is the golden-winged woodp.e.c.k.e.r, _alias_ "high-hole," _alias_ "flicker,"

_alias_ "yarup." He is an old favorite of my boyhood, and his note to me means very much. He announces his arrival by a long, loud call, repeated from the dry branch of some tree, or a stake in the fence,--a thoroughly melodious April sound. I think how Solomon finished that beautiful climax on spring, "And the voice of the turtle is heard in the land,"

and see that a description of spring in this farming country, to be equally characteristic, should culminate in like manner, "And the call of the high-hole comes up from the wood."

The song sparrow, that universal favorite and firstling of the spring, comes before April, and its simple strain gladdens all hearts.

May is the month of the swallows and the orioles. There are many other distinguished arrivals, indeed, nine tenths of the birds are here by the last week in May, yet the swallows and orioles are the most conspicuous.

The bright plumage of the latter seems really like an arrival from the tropics. I see them flash through the blossoming trees, and all the forenoon hear their incessant warbling and wooing. The swallows dive and chatter about the barn, or squeak and build beneath the eaves; the partridge drums in the fresh sprouting woods; the long, tender note of the meadow lark comes up from the meadow; and at sunset, from every marsh and pond come the ten thousand voices of the hylas. May is the transition month, and exists to connect April and June, the root with the flower.

With June the cup is full, our hearts are satisfied, there is no more to be desired. The perfection of the season, among other things, has brought the perfection of the song and plumage of the birds. The master artists are all here, and the expectations excited by the robin and the song sparrow are fully justified. The thrushes have all come; and I sit down upon the first rock, with hands full of the pink azalea, to listen.

In the meadows the bobolink is in all his glory; in the high pastures the field sparrow sings his breezy vesper hymn; and the woods are unfolding to the music of the thrushes.

FOOTNOTE:

[Footnote 48: By John Burroughs.]

EXPRESSION: Read again the four descriptive selections beginning on page 179. Observe the wide difference in style of composition. Of the three prose extracts, which is the most interesting to you?

Give reasons why this is so. Which pa.s.sages require the most animation in reading? Read these pa.s.sages so that those who are listening to you may fully appreciate their meaning.

THE POET AND THE BIRD

I. THE SONG OF THE LARK

On a pleasant evening in late summer the poet Percy Bysshe Sh.e.l.ley and his wife, Mary Sh.e.l.ley, were walking near the city of Leghorn in Italy.

The sky was cloudless, the air was soft and balmy, and the earth seemed hushed into a restful stillness. The green lane along which they were walking was bordered by myrtle hedges, where crickets were softly chirping and fireflies were already beginning to light their lamps. From the fields beyond the hedges the grateful smell of new-mown hay was wafted, while in the hazy distance the church towers of the city glowed yellow in the last rays of the sun, and the gray-green sea rippled softly in the fading light of day.

Suddenly, from somewhere above them, a burst of music fell upon their ears. It receded upward, but swelled into an ecstatic harmony, with fluttering intervals and melodious swervings such as no musician's art can imitate.

"What is that?" asked the poet, as the song seemed to die away in the blue vault of heaven.

"It is a skylark," answered his wife.

"Nay," said the poet, his face all aglow with the joy of the moment; "no mere bird ever poured forth such strains of music as that. I think, rather, that it is some blithe spirit embodied as a bird."

"Let us imagine that it is so," said Mary. "But, hearken. It is singing again, and soaring as it sings."

"Yes, and I can see it, too, like a flake of gold against the pale purple of the sky. It is so high that it soars in the bright rays of the sun, while we below are in the twilight shade. And now it is descending again, and the air is filled with its song. Hark to the rain of melody which it showers down upon us."

They listened enraptured, while the bird poured forth its flood of song.

When at length it ceased, and the two walked home in the deepening twilight, the poet said:--

"We shall never know just what it was that sang so gloriously. But, Mary, what do you think is most like it?"

"A poet," she answered. "There is nothing so like it as a poet wrapt in his own sweet thoughts and singing till the world is made to sing with him for very joy."

"And I," said he, "would compare it to a beautiful maiden singing for love in some high palace tower, while all who hear her are bewitched by the enchanting melody."

"And I," said she, "would compare it to a red, red rose sitting among its green leaves and giving its sweet perfumes to the summer breezes."

"You speak well, Mary," said he; "but let me make one other comparison.

Is it not like a glowworm lying unseen amid the gra.s.s and flowers, and all through the night casting a mellow radiance over them and filling them with divine beauty?"

[Ill.u.s.tration: The Song of the Lark.]

"I do not like the comparison so well," was the answer. "Yet, after all, there is nothing so like it as a poet--as yourself, for instance."

"No poet ever had its skill, because no poet was ever so free from care," said Sh.e.l.ley, sadly. "It is like an unbodied joy floating unrestrained whithersoever it will. Ah, Mary, if I had but half the gladness that this bird or spirit must know, I would write such poetry as would bewitch the world, and all men would listen, entranced, to my song."

That night the poet could not sleep for thinking of the skylark's song.

The next day he sat alone in his study, putting into harmonious words the thoughts that filled his mind. In the evening he read to Mary a new poem, ent.i.tled "To a Skylark." It was full of the melody inspired by the song of the bird. Its very meter suggested the joyous flight, the fluttering pauses, the melodious swervings, the heavenward ascent of the bird. No poem has ever been written that is fuller of beautiful images and sweet and joyous harmonies.

Have you ever listened to the song of a bird and tried to attune your own thoughts to its unrestrained and untaught melodies? There are no true skylarks in America, and therefore you may never be able to repeat the experience of the poet or fully to appreciate the "harmonious madness" of his matchless poem; for no other bird is so literally the embodiment of song as the European skylark.

But now let us read Sh.e.l.ley's inimitable poem.

II. TO A SKYLARK

Hail to thee, blithe spirit!

Bird thou never wert, That from heaven, or near it, Pourest thy full heart In profuse strains of unpremeditated art.

Higher still and higher From the earth thou springest Like a cloud of fire; The blue deep thou wingest, And singing still dost soar, and soaring ever singest.

In the golden lightning Of the sunken sun, O'er which clouds are bright'ning, Thou dost float and run, Like an unbodied joy whose race is just begun.

The pale purple even Melts around thy flight; Like a star of heaven, In the broad daylight Thou art unseen, but yet I hear thy shrill delight.

Keen as are the arrows Of that silver sphere, Whose intense lamp narrows In the white dawn clear, Until we hardly see, we feel that it is there.

All the earth and air With thy voice is loud, As, when night is bare, From one lonely cloud The moon rains out her beams, and heaven is overflowed.